The concept of "prolongation" which is an idea of extraordinary power is well established by many Schenkerian analyzers. It offered outstanding and unique view into common-practice tonal music, allowing us to understand through the musical surface to the remoter structural levels and ultimately to the tonic triad. Many researchers have indicated that it is not proper for atonal music to adapt the concept of prolongation. Most theorists have ceased to produce prolongation analyses of atonal music. The first part of this study examined the limits of the Schenkerian analysis concerning the fundamental structure(Ursatz). Through this examination, it has been found that the fundamental structure and prolongation are not the absolute notion, and harmonic progression and prolongation are largely determined by the consonance and dissonance that occurred contrapunctally between parts. From the standpoint such as this, Strauss and Pearsall admitted that in atonal music, some sonority might be defined contextually as a consonance, thus permitting small-scale prolongations. In the context of the intervallic contents of chords in an atonal works, we may find some prevalent chords. Some researchers suggested that the potential exists for uncovering a unique context containing intervallic variety in each atonal composition. To examine the intervallic content in some atonal works, we used the approach of "set" theory. Unlike tonal works, each atonal composition contains unique structural attributes. And, the identification of consonance and dissonance in atonal music necessarily leads to new definitions of harmony and voice-leading. This study analyzed Webern's op.9, no. 2, based on the demonstration of Edward R. Pearsall. This analysis illustrated the existence of common harmonic attributes and structure. Pearsall suggested that some prevalent intervallic contents and common harmonic attributes be able to consider a kind of 'consonance'. And, he thought of this consonance as a unit of prolongation in an atonal work. The demonstration of Pearsall gives an example of the understanding the term "prolongation" in atonal works. His methodology of analysis is not absolute nor generalized. But, we may have a possibility to examine the "prolongation" in atonal works. In conclusion, we may apply the methods of this analysis to other atonal works.

제1장 서론 
제2장 Ursatz에 부합하지 않는 연장 모형들 
2.1. Schenker의 Monotonality에 대한 반론 
2.2. 상행하는 Urlinie 
2.3. 무조음악의 연장을 파악하는 방법적 혼란 
2.4. Ursatz를 무조음악에 적용할 가능성에 관한 논의 
제3장 무조음악의 화성진행과 연장 
제4장 결론 
참고문헌

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